Speaker 1: And now Audio Theater Central.
Speaker 2: Hello, welcome to Audio Theater Central. This is the show
that explores family friendly audio drama through news, reviews and interviews.
I'm your host, J D. Setter. This is episode two
twenty two. This is a bonus episode. We had a
really great interview we wanted to share with you, and
we've got some other content coming up in the next episode,
so I decided to just go ahead and release this
as a special bonus episode. We've got an interview with
actor Ian Lolam coming up, a bit of feedback from Jacob,
and a couple of quick audio drama updates to get to.
So I hope you enjoy this extra bonus episode. Let's
get into it.
Speaker 1: We interrupt this program to bring you a special report.
Speaker 2: And in other news tonight.
Speaker 1: A brief look at the headlines. Now they want exciting,
fast peace news.
Speaker 3: Is it's relevant and entertaining like this.
Speaker 2: These are really just a couple of brief reminders here
in the updates segment this time, don't forget about the
third annual Christmas Audio Drama Spectacular coming up in just
a few days on Friday, December fifth. There is a
link in the show notes of this episode to a
post on our website with all the details about how
to tune in. But it's going to be about four
hours of great Christmas audio programming hosted by me and
brought to you by ATC and Odyssey Geek. And there's
going to be some exclusive behind the scenes information from
cast and crew that are involved in each of these
productions that are highlighted in this playlist. So it's going
to be a lot of fun. Be sure to join
us for that, and again link is in the show
notes with all the details, so hope to see you there.
Also just another quick reminder that, as always, we will
have our Black Friday Audio Drama deal's post. It will
be coming soon, so keep an eye out for that.
We try to get that posted as soon as possible
right around Thanksgiving so you have a chance to look
it over and see what you might want to get.
But there are some deals coming, so be sure to
keep an eye out for that Black Friday Audio Drama
Deals post on our blog. All right, well, let's get
to the interview.
Speaker 1: I have some very important information and I thought I'd
be getting it into the hands of a real reporter, Sir, Sir,
can I speak to a moment. Oh, well, there's nothing
to it. I just ask you the questions and you
answer them in the tape recorder. Here play the interview.
Speaker 2: Well. Ian Lalam is an actor for the stage and
works full time at Sitan Sound Theater in Branson, Missouri,
and over the last eighteen months or so, he has
started to get into acting for audio drama. If you
heard the Road to kay Luma, the new fantasy mini
series that we have highlight here on the show recently,
then you have heard his voice. And though I haven't
met him in person, I have had some online interactions
with Ian via email on a couple of different regarding
a couple of different projects, and he seems like a
really nice guy, so I was really happy to have
him come on the show. Austin Peachey met up with
him recently and talked about his journey to stage acting
and then transitioning to acting for the microphone, and this
is a really great conversation. It was really interesting to
hear the perspectives of a professional stage actor who has
moved into the world of audio. So thanks to ATC
contributor Austin Peachee for taking the time to sit down
with Ian and Thank you to Ian for being willing
to do this. And there is a photo in the
show notes of the two of them at the time
they recorded this interview if you want to check that out.
And after this interview, I'm going to share some of
the other projects that he's been in, as well as
a few that are still yet to come. So let's
jump into it.
Speaker 4: Hello ATC listeners, this is awesome Peachy on location in Branson, Missouri.
Just finished eating some really great barbecue with a actor
from AUTI drama that you're probably familiar with, and if not,
you're gonna learn more about him now. I am here
with Ian Lullum. Welcome to the show. Ian, Hello, thanks
for having me. So some people know you from your
voice acting, but for those that don't know, you're also
a stage actor. So how did you become a stage
actor in the first place.
Speaker 1: It's kind of an interesting story because it's something that
I decided that I wanted to do when I was
in college. I mean, I'd done theater in high school
and stuff, and I actually my dad wasn't thrilled about
me wanting to go to school for theater. He's like,
you're not gonna make any money, which we'll come back
to that because there's a big twist of irony that
comes from that conversation. But So went to school to
become a music educator, and then somewhere in college I
was like, I do not like this. I don't want
to be educating students because I was being I was
very I was very upset if students didn't care, like
you know, if they don't want to learn. I was like,
I don't want to do this. So then I finally
just went, you know what, forget it. I'm switching my major.
And so I decided to do a technical theater and
technical theater if you don't know is you know design,
whether that is you know, lighting design or building sets,
designing sets, costumes, et cetera. And so my focus was
on technical theater and design. So I wanted to do
set design, and we'll jump ahead. I got that degree
and I moved. I was in Minnesota at the time,
moved to Denver for a project that then promptly fell through.
So I was like acting life right right, And then so
I'm like, oh, great, I don't have this technical theater
job that I thought I had. And then I found
out about sight and Sound, and so I had auditioned
and I didn't get in, but I liked what the
company had to offer, and so I started working backstage,
which sounds easy, but no. I applied and I waited
and I waited, and I finally got an interview, and
I moved to Branson, Missouri, and then eventually I auditioned
again and I made it into the cast. And the
bit of irony is my dad moved to Branson and
he works at the theater now, so he has a
full time theater gig and he's definitely paying his mortgage.
So you can make money doing theater if you're in
the right place.
Speaker 4: Nice, can you tell us some of the shows you've
done at Site and Sound that people want to be
familiar with.
Speaker 1: Yeah, so I've worked at Sitan Sound for ten years
as a technician. I worked backstage for Jonah, Moses and
Miracle of Christmas and Samson, and then the second year
we did Samson, I made it into the cast and
then I have done Noah, Jesus Esther and now we're
doing David Oh. And I've also done Miracle of Christmas
as an actor as well.
Speaker 4: Nice, So you have an experience on the stage. Now,
how did you make that jump from acting on the
stage to voice acting?
Speaker 1: So that was kind of an accident. Actually, I was
interested in trying to add to my resume potentially some
film stuff, so I was looking for some smaller film
projects through a casting website and I came across this
audition for Road to Queluma, which is the show that
Jesus Film Project and Family Life put together. And at
the time, I didn't know it was an audio drama.
I actually thought it was maybe an animated film because
I hadn't seen anything else on this website other than
like film or theater gigs. So I auditioned for it
thinking it was an animated film. I knew it was
like voice recording, and then I got in and it
was crazy, and I flew to Florida and we recorded it,
and then I made a bunch of connections. So now
I've been doing this for about a year and a
half now, and I think I'm about I'm a little
over thirty projects in I think in about eighteen months,
so it's it's been kind of a whirlwind.
Speaker 4: Yeah, I really enjoyed listening to Rotaque Luma.
Speaker 1: Was it any of your character playing that.
Speaker 4: Game Yanickick, Yeah, one of the main characters there. So
you've done both stage acting and voice acting. Now, what's
been the most challenging part about transitioning from stage to
voice only interesting?
Speaker 1: You and I kind of talked about this when we
were eating our meal. I think that stage acting and
voice acting is actually very similar. And I don't want
to die on this hill, but I but I think
it's important to recognize that in live theater you should
be able to communicate in such a way that if
the audience member were to not be looking at you,
if they were taking in something about the sets, or
if they were, you know, watching the actor that you're
opposing that you're having dialogue with, that they should be
able to understand the emotion and the intent of what
you're saying. And so, since that already exists in live theater,
the transition to audio drama was really just sort of
focusing in and honing on that specifically, but it wasn't
really too different. In fact, I think there's a lot
more grace sometimes in audio drama because in live theater,
you practice and then you're doing a performance, and whatever
comes out of your mouth, that's it. And even though
you practice it a lot. Sometimes you'll leave the stage
and you're like, why did I say that line like that?
That is not how I normally say it, and that
was weird. Now you have to give yourself grace. The
audience probably did not notice. But the great thing about
audio drama is you can do multiple takes and then
hopefully the audio engineers and everybody in the editing room
is going, Hey, that truly was the best line, and
we're gonna use that one. Yeah, and I know that's
the sole cliche.
Speaker 4: But you can also record your lines while we're your
pajama's at home.
Speaker 1: You can, you can, and and I I will. I
will admit my my booths sometimes gets hot, so I
might start it might be winter, and I'll start in
like in like pants and a sweater, and I'm like,
I I have to switch to shorts and a T shirt.
And I will be there because I don't have a
cooling system in my room.
Speaker 4: Yeah, it's it's it's tough being an actor and even
on stage.
Speaker 1: And in the booth.
Speaker 4: So you've done many different roles, both on stage and
audi drama. What has been some of your favorite roles
you've played on the stage and also in audi drama.
Speaker 1: So far, I think every show I I I probably
have one that's that's really great. I'm like, right now
I am the understudy for for Saul. It's fit and sound,
and it's it's a lot of fun because Soul is
a very troubled character. You know, even biblically we understand that,
you know, the Lord sort of cursed him with this
this unclean spirit that that that torments him. That and
it's because he's constantly disobeying God, and so it's like
he kind of wants to do what's right, but he's
always just being selfish and doing his own thing. And
so there's a lot of He's not just an angry character,
Like he's still a Jew, he still wants to serve God.
He recognizes that he was chosen originally for to, you know,
to be the king. So it's not just an angry character.
But there's a lot of depth. There's a lot of
back and forth between like him trying to be this
gentle character but also being quite a coward and then
also being very angry. So I mean, that's just that's
just fun to play. I think in audio drama, I
don't even know if I could pick one, But I
will say I do a lot of act scent work
for audio dramas. And I grew up in Germany. My
parents are missionaries. And I got to do the story
of Fronciega Stetta for Mary Beggars, and I got to
do a German accent for a whole audio drama and
I felt very at home doing that. I felt I
felt very at home doing that because because it felt
like a piece of home. So that was really that
was really fun.
Speaker 4: Yeah, that's one of the great things about voice acting
is you can be any character. Like on the stage,
there's only so much that you can do with you know,
makeup and costuming and that kind of stuff. But with
you know, voice acting, you could be you know, you
can just be you know, you play King Saul and
an audiodrama, but you could also play you know, a dwarf,
you could play you know, a talking rock or whatever
you wanted to be with that. So, with that kind
of flexibility doing voice acting, does it feel like it's
a kind of more freeing thing or a more creative
field in acting that way? Or is or does both
have some kind of strength and weaknesses?
Speaker 1: Uh? Definitely when more creative. So Glenn Haskell did the
has the Range Drift Drifters, and in the Range Drifters,
I auditioned to be these these snipes Grit and Gristle,
And when I auditioned, I auditioned as both of them,
and I saw them as sort of like brothers or
best friends from the same region. So I did sort
of this like almost think about like the Crooks from
one hundred and one Dalmatians. I did this sort of
like Cockney accent, I mean one like higher and one lower,
and like they were these just as best buds from somehow,
somehow England, even though Range Drifters is you know, not England,
but these Snipes definitely were. But it was really it
was really cool to uh to do that, because when
Glenn got back to me, he's like, oh, I didn't
even like see them necessarily as being like you know,
like brothers or or like from a different place, but
like that really works, and me being able to voice
both characters was really fun. I had a blast doing
it because I got to create this dynamic between these
two characters by recording their dialogue back to back. But
it was all my voice that was really fun.
Speaker 4: So it was as a conscious challenge you wanted to
put on yourself, like to do both of them back
to back, rather than it's recording all of like grits
lines than doing gristles later.
Speaker 1: No, I did actually record them separately, but but I
did go back and forth, like when I was working
and establishing there were certain things I wanted to kind
of hit to work together. So I don't remember if
I if I gave him any scenes of them speaking together,
but in my work, in my prep work, when I
was just kind of thinking about the characters, I did
do that, and it kind of helped establish some of
the some of the nuance of like their relationship. Nice.
Speaker 4: So I think we kind of covered this a little
bit earlier. But what are some skills you've learned to
the stage doctor that he's been voice acting, And also
are some things in voice acting you've been able to
use to prove your crafts when your sage actor.
Speaker 1: Well, I think one of the hardest things about voice
acting is you almost always have the script in front
of you because you don't memorize it right, and so
you have to learn to kind of really take the
line off the page and not sound like you're reading.
So that has been a challenge, but I but it's
not a challenge in live theater because you're memorized and
you're not standing up there with your script. And so
I really try I utilize this method, and I forget
there is there is an actual acting coach who uses
this phrase, and I could not tell you his name
right now, but he does say taking the line off
the page, and so it's it's you're reading it and
you're just giving yourself like short of that quick memorization
and then you're just looking up and saying it, so
you're not actually reading it. And so that's one of
those things that's helpful because like when we read, we
sometimes stumble on the words, but because we're reading with it,
we know we stumbled, and so I try and bring
it off the page as much as I can. I
think a little bit more about the emotion. I don't
like trying to make lines sound a certain way. I
like actually experiencing them as the character. And there's different
thoughts about that in live theater. There's the whole debate
about like method acting or different methods of acting, and
some people really like to become the character some people
really like to just know how to create certain emotions.
And I don't like thinking about acting as something that's
like super mechanical. I like thinking about it as experiencing
what that character is experiencing and how you say the line,
And so I just really try to approach it in
that light. How would this person say this line in
order to communicate this thing? And then if I get
direction that says, ah, I want that to sound a
little bit more, you know, a little bit more melancholy.
I'm like, okay, but I try and like physically change
myself into that position. I worked with the director recently,
Margaret Smith, on a production for Mary Beggars, and she
kept saying that she said, put the lines in your body,
like don't just read it off the page, like let
your body express what is happening, because it's all connected,
you know, And that that's definitely helped me. That's helped
me communicate the way that I want to communicate when
I'm doing audio drama.
Speaker 4: But yeah, that's some great advice there. So it's that
just been you that have been doing all drama recently.
It's also been your daughter Lizel. Yeah, So what's it
been like sin your daughter star voice acting as well.
Speaker 1: It's it's been really fun. I had the idea to
ask her if she was interested because Glenn was doing
another arrange strift as one with the Goats, and it
was the first thing she auditioned for. I forget what
the original name was. I think it ended up being
called Jumpy the Goat in the final form. I don't
think that's what the audition said, but I just there
were sort of three different age goats and I was like, oh,
there's this young goat. This would probably be great as
a kid. So I had to read for it and
like he loved it, and then he reached out and
was like, I love how hard voice sounds. You think
she could play younger Bethany Baldwin And it was kind
of perfect because Bethany's told me that she had a
raspy voice as a kid, and Lie's definitely has that.
She's got this cute little rasp. But I've gotten a director,
which has been really great. Frustrating at times because that
parent child relationship is less professional than you know, when
you're working with someone else's kid. You were always very
put together, and you can get frustrated as Baron, but
I try to be very kind. But it's been It's
helped me shape her and she's she's improved so much
as a little actress herself because she's recognizing things where
she'll even read a line and she'll say to me, oh,
that sounded like I was reading it, or she'll say, oh,
I was definitely acting there. I wasn't becoming the character.
Just these little things, these little phrases that I try
and help her get into that headspace, and it's been great.
She struggles in prep work, and you know, recently we
did we did something for Glenn where she really got
time with the script before we got into the studio,
and when we got there, she had a lot of
fun because she was prepared and she was ready and
we had these really great takes. And she's starting to
recognize when limestone sound the way she wants them to sound.
And so it's been cool to see this last year
to see her grow and get better. And I hope
she wants to do it. I'm not going to push her.
I've never wanted to be that parent that like forces
my kid to do something. So even whenever Glenn says, hey,
does she want to do this next project. I never
say yes without asking her and seeing what she thinks
about it. So we'll see, we'll see if she keeps
doing it. But for now, she's enjoying it.
Speaker 4: Yeah, she's done a great job, especially like listening to
her in time to listen to the Window See Exclusive
show like Glenn Producers, And yeah, she's she's a very
very great talent when it comes to that. And it's
great that you're both kind of learning this field at
the same time, and you're also learning more of the
directing side of things where you've even on the acting
side most.
Speaker 1: Of the time. Yeah. Yeah, and I'm I'm enjoying that.
I have. I wrote and put together one audio drama
of my own which is on Spotify. It's called The
Vermont Problem and and it's it's only on Spotify. I
might I might put it on other places at some
point if I can figure out how to do that.
But it's a yeah, it's sandbox audio drama's Uh. My
my friend Blake wrote the script after from an idea,
and so I got to direct that and put it
together and it was a lot harder than we thought.
Anyone out there wanting to get into audio drama and
you're just like, oh, hey, I'm going to produce an
audio drama. It's a lot of work. I mean, the
episode is only six minutes long, and getting into doing
like the fully work the music, making it sound right,
doing the track edits and the normalizing and all of
that was a lot of work. And so I mean,
respect Austin, I know you do this. You do this
all the time, and it's a lot of work, and
there's so much time and energy that goes into this.
But yeah, getting to direct. I got to direct to
my friends in that and that was really neat because
they had never done audio drama and they are stage
actors and so getting to help them find their voice
in those characters was really great. And I hope to
do more. We are My friend Blake and I were
gonna meet up here next week to talk about doing
another production that will hopefully be about fifteen minutes long.
So we're still doing it. We're still looking to do more,
and uh, we'll see, We'll see what happens there.
Speaker 4: That's great that you're you know, branch out to new
avenues because I know Toba Steed has talked about this
quite a bit. Is that you shouldn't just be focused
on your own kind of discipline, learn about everybody else's.
So as an actor, you're learning about directing now and
then producing and writing and sounds on that kind of stuff.
So not just only that you kind of feel for
those people to have to deal with those things, but
you can learn those skills and also like, oh so
like for a director or like as an actor, I
can know a little bit more of what the director
wants or what a director is looking for. That helps
improve your performance. So yeah, that's that's great that you're
doing that. So wrapping up here, you've been quite a
few productions lately and stuff that you've recorded. Is there
some productions that are upcoming or once I've recently released
that you're really excited about or want to give a
plug for.
Speaker 1: Yeah, I'm I'm actually probably most excited right now for Well,
there's a couple that I can't talk about because they're
gonna they're they're gonna drop somewhere, but just keep your
out for my name, I guess if you want to
hear something else that I'm in and I'm sure when
they drop. Some of them are from are from some
producers that I know that ATC definitely falls and talks
about so they'll probably get plugged on the show when
that happens. So that's exciting and I'm excited about those.
One that I know that I can talk about just
because you know they're always churning out new material is
the Mary Beggars is doing a Saint Nicholas show and
that is coming out in the end of November. So
that's for their Saints podcast, and it is usually let's see,
it's a five parter they're there. They're usually five episodes
that are, you know, fifteen to twenty minutes long each,
so it clocks in around an hour to an hour
fifteen for those five episodes. And it's the it's the
dramatized true story of Saint Nicholas. What's cool about that
is St. Nicholas is you know who we base Santa
Claus on. But like, as you're doing this story, you
start going, yeah, barely. It's just like when you actually
study Saint Nicholas, you're like, this is close to the
idea of Santa Claus, but only because he gave somebody
gifts in secret. But I'm excited about that episode. I'm
excited for my kids to hear it. We as a family,
we we sell because I grew up in Germany, we
celebrate St. Nicholas Day by you know, putting out choosing
at our front door and getting you know, chocolate and
stuff in them. So my kids are gonna be excited
to hear about St. Nicholas. So I'm excited about that
when you can look for that from the Saints podcast
from the Mary Bakers.
Speaker 4: All right, well, this has been so much fun into
know a little bit more about Ian and some of
the projects that you've worked on and things that you've
learned that hopefully listeners can take the heart and apply
some of those things that you've learned to their own discipline,
whether it's an auto dramma or somewhere else. But thank
you so much for doing this interview, and appreciate you
taking the time to do this.
Speaker 1: Yeah, absolutely, thank you for having me.
Speaker 2: Well, thanks again to Ian for taking the time to
sit down and do this interview for us, and thanks
to Austin for recording this interview. Really loved what he
had to say there and his approach to acting and
bringing characters to life. Such great information there. Well, he
mentioned a few different projects that he has been involved in,
and one in particular was the five part episode of
The Saints about Franz Jagerstatter. I think is how you
say that I don't speak German like he does. But
that is linked in the show notes and also First
Acts Productions Range Drifters that is also linked up in
the show notes, so you can hear him voicing those
snipe characters that he talked about. And also Time to Listen,
which is the show that Austin referenced that Ian's daughter
Lisa has been in, and so that is a window
Seat exclusive show. If you already have a window Seat account,
you can click the link in the show notes. It'll
directly open up the app. If you don't already have
a window Seat account, you can join and do a
free trial if you want to check out this show. Incidentally,
also in Time to Listen, you will hear me as
a few different characters and you'll also hear Austin And
there's actually a scene or two in an episode where
Austin and I get to play off of each other
as some really fun characters. So Time to Listen is
a micro audio drama series by Glenn Haskell and his
first Ax Productions. Really interesting show, so that is worth
checking out. Also linked up in the show notes is
Ian's IMDb page if you want to check that out.
And also his own audio drama that he mentioned, Sandbox
Audio Dramas. The first episode called The Vermont Problem. It
is linked up in the show notes as well, and
it's quite an interesting little micro audio drama. I think
it's worth a listen. I got to hear a pre
release version of that show and really enjoyed it, so
I think it's worth checking out. Now. You'll also be
hearing Ian in the upcoming audio drama Alliance production of
The Hardy Boys and The Tower Treasure. That page is
linked in the show notes as well. That is still
in the works. It is coming. It's moving a little
bit slower than we would have liked, but it is
still coming, so you'll get to hear Ian in that
show as well. And the last audio drama that I
want to mention is an upcoming episode of a bit
of time travel from somewhat Significant Audio Productions. This episode
is called The Viking and we don't have a firm
release date at this point, but it will be coming
soon and you will hear Ian as one of the
main characters in that one. So here is the trailer
for the Viking from a bit of time travel.
Speaker 3: Look, every Sunday I goes out fishing on the coast,
and I roast what I catch, all good and proper,
over a fire, and I sleep under some trees like
I swallow newborn nears. Where I'm sleeping. One night, I
see something strange in the marshalings, this glistening thing in
the moonlight. Now I don't think my job it till
the following morning, when I goes and sees it. The
marshalings been drained a little. Must have had something to
do with all their construction at Farmer Langley's farm, I
says to myself. But again I see this thing, and
this time a little clearer. It was like one of
them telephone boxes. But it was it red, not even
red like, but gray like my own eyes, and green
like the emeralds on a kingly crown. So I gets
the idea, you see, trying to get the box out
of there, I tries, and I tries then borrow a
farmer Langley struck to help with it. Well, what borrows up,
I mean steals it of course, and I gets it free,
and then I wipes it a bit with the ball
on my hand, and I seize the words clear as day,
time machine. You see. I'll let you use the machine
free at George. All I'd ask in return is that
you order a couple of ales next time. Mister Forbug passes.
Speaker 1: By buying those strings, Thomas, what buying those drinks? I said?
And after you've had them, mister Nickleby, you'll show us
where this machine is.
Speaker 3: Ay, that's a deal, mister Olson, A grand deal.
Speaker 1: Spencer, Spencer, Now what do we have here?
Speaker 2: Come here a drunk with a time machine.
Speaker 3: I've seen it all, seeing a lot more rom show.
Speaker 1: M man.
Speaker 2: I'm pretty excited about hearing that one. So my understanding
is that Ian plays Spencer Olsen there, so not the
first character you hear. I believe that was Jonathan Cook,
but every single episode of a Bit of Time Travel
is so interesting and really really looking forward to hearing that.
So anyway, that's another project that is coming soon that
you will hear, Ian lolam in. So again, all of
these projects are linked up in the show notes.
Speaker 1: So what do you think of the show?
Speaker 3: Please leave your message.
Speaker 1: After the Chowne Hi, Audi the Central, Hey guys, this
is awesome.
Speaker 3: Preach hell about j D Royan Andrew minum is Victoria now.
Yesterday I received a letter from a big band.
Speaker 1: No time to travel. I've got an email.
Speaker 3: Listen another package for me today?
Speaker 1: No exactly, just your mail.
Speaker 2: Well, if you'd like to get in touch with us,
those same old methods are still available as always. You
can email feedback at audio Theatercentral dot com, comment on
the show notes, or send a text message or leave
a voicemail to six two three six eight eight two
seven seven zero. Well. Jacob commented on episode two twenty
one our review of the Victory of Joan of Arc
and he said, I enjoyed this episode. A few months ago,
I discovered Airship Genesis from David Jeremias Ministry after you
mentioned it in an episode. As of season two, I've
noticed Airship Genesis has expanded to a half hour format
versus the fifteen minute episodes in season one. Just wanted
to let you know about that, so thank you, Jacob,
really appreciate that. And as I mentioned in a recent episode,
this is now available as a podcast feed, so if
you want to check out this show, that is also
linked in the show notes, and I haven't dug two
deeply into it yet, but the episodes that I have
heard I really enjoyed, so if you want to check
that out, it is available as a podcast for free.
Well that's going to do it for this episode. Thank
you so much for coming along for this bonus episode.
The show notes are at Audio Theatercentral dot com slash
two two two. All the links to everything we've covered
in this episode, including that photo of Ian and Austin,
can be found at that link, and of course, join
the ATC Insiders our email list if you want to
stay up to date with all that we've got going
on here now. Paul McCusker will be joining the show
in our next episode, so you don't want to miss that.
Stay tuned. I will see you next time. Thank you
so much for listening, and I hope you have a
great Thanksgiving. Audio Theater Central is a production of Portside
Family Media. Our theme music was composed by Sam Avandanio.
The show is produced and edited by yours truly, JD. Sutter,
and our website is Audio Theatercentral dot com. What in
the world is going on with the Whistling says that
never happens to me.
Speaker 1: Scorchlight Family Media your source for family centered content.
Speaker 3: Scorchlightfamilymedia dot com